danasgoodstuff

Lovely photos, you are indeed blessed, as I'm sure you know.

Are there any good sets documenting 'northern roots music' or the relation between the stuff collectors have typically thought of as 'square'/'corny' and the stuff they usually collect? I liked the Bluebird 'secret history of R 'n R' series pictured above, even though I don't think the musics worth is measured by it's relation to rock oer anything else that came after... Harry smith's Anthology of American Folk Music had a huge impact, not all of it good, and has lots of good music but isn't the most cost effective way to build a collection...

You don't need to work for anyone who'd treat you that way, get well and get a better job.

Anyone who would compare the Beach Boys in their prime to the Little River Band is......missing a lot. as is anyone who doesn't get that said prime was a long time ago and isn't coming back. Chewy, Sorry to not reply sooner. Yes, I did live in Ashland, OR '63-66, ages 8-11. Then I moved to saskatoon, SK, CND where my aged parents and one survivng brother still live, but that's another story... I Get Around, Dana

I'm (still) definately a first box (Atlantic distributed period) sorta guy, but I did recently pick up a CD of Wm. Bell's later singles, I've always loved "I Forgot to Be Your Lover" strings 'n all, and think he may be the most under rated guy to have worked there. IMHO, the early stuff is the 'most unique' and if it's a little ruff 'n (not quite) ready, that's part of the charm. "Banana Juice" anyone?

Um, I think we've covered this, you *%$#@!

I've (re)listened to this (old version CD) every night for the last three and I don't know what ya'll talking 'bout. Dull and Stiff it ain't to my ears, and tapping feet and bobbing head, etc. Grant and Billy are just bright and sparkling in their soul, wit and verve. And herbie's ok too. He ain't Sonny Clark, but hey... and none of the much beloved quartets with Sonny really hang together as an album, lovely though they are on a moment to moment basis. Here Grant and the guys Feel the Spirit without giving up anything of who they are, making it different than anyone else's jazz plays spirituals album. Love Goin' West too, bummed no outtakes on the CD.

I also saw them in OR during the striped shirt period, they were in Ashland to film Where the Action Is at the Ski lodge on Mt. Ashland. Don't remember musch, concert was at the college gym, lots of opening acts, also saw Ellington, the Ventures and the Dillards in Ashland. Not bad for a little logging town (shich it still was then, now is different).

There's also a nice clip of the Flamingos in jump mode in a CND doc about the twist, they include a lot of pre- and post- twist stuff for context and to make a movie of it.

I completely agree that I'd much rather hear the original "I Put a Spell On U" and "Suzie Q" (or the Stones' cover where the first guitar break is shear ineptitude and the second great, and the're largely the same riffs). When CCR's "Grapevine" comes on I usually listen to where it should've ended, then switch stations... Interesting that they never covered Slim Harpo (did they?) 'ccause I hear it in their sound, a lot... "It Came Out of the Sky" has a funny reference to then gov Reagan.

Fogerty's 'swamp rock' shtick is an annoying affectation and there are other aspects of his personality I don't care for either, but CCR were a great singles band and it was his vision and songwritting that made them so... I think "Lodi" sounds the most like his real life, being pissed at having to play for drunks, but he found a way out so more power to him. The band sound fine when they keep things short and to the point, but when they try to stretch out the're one short step from Iron Butterfly ineptitude, IMHO.

For my money, Sonny need not listen to anything but his own heart and mind, certainly not to you or I. The concert I heard shortly after carneige Hall was fine and I'd be happy to have a recording of that or something similar. Clifton in particular had as lovely a sound as i've ever heard come out of a trombone...

To paraphrase Lester Young, I play a little butnot enough to affect my listening pleasure. Or not much and to the extent that it does I think that what I lose in magic is at least was great as what I gain...

Upon relistening to "Hot Dog" (the tune not the whole album), I thought the most intersting/arresting solo was Melvin Sparks, even if (or maybe because) it was like a v. elaborate version of Lowell fulson's on "Tramp" - which is also how I hear some of Jimmy Ponder's work in this period, when they don't sound like Grant Green..

-which is why I used "false consciousness" with some trepidation, since it's no doubt been misused more often than not, my point was only that no one's real life is as bland as that blank nothingness of a Kenny G recording and why would you want to imagine an alternate reality that was like that? But working in record stores whowed me that lots of otherwise nice if not exactly hip people, black and white, eat that shit up. In a world that contains evrything from Kenny to Coltrane, I think Lou is well to the good side, even if Hot Dog is far from his best... just trying to gain perspective, Dana

Willie was busy in the studio but Muddy's been quoted to the effect that he didn't like loud/busy bass...Little walter may just have been too cheap, his typical line up was him, 2 guitars, drums. Plus, foe awhile, young Albert from Cleveland, god I'd like to hear that!

I'd have to agree that Lewis was solid but not spectacular on most sessions but maybe jazz guys weren't ready for aggressive bass playing then. The players in R&B/soul bands/records were all more interesting - Duck Dunn, Jamerson, Tommy Cogbill, Jermont, any of the many who played with James Brown. Intersting to note that in the '50s both Muddy and Little Walter had working bands with no bass player...

Not to go all neo-marxist on you but the concept of 'false consciousness' seems relevant here, inotherwords no ones real self is that vapid (I, but the way, heard Kenny when he was Jeff Lorbers sideman many years ago, he wasn't great but he wasn't horrible either).

Basin Stret Blues is a great song and Miles reworking of it a triumph on many levels..but I hear that same sense of solitude in Sancturary from BB and don't really think he abandoned anything essential about himself or the music. The world of "beautiful browns" and street violence described in Basin Street Blues could be in a rap video today, not that I like that music much myself...just as well dens of iniquity today tend to have music geezers like me don't care for, otherwise I'd just spend more time and money there. Any contentious issues we've leaft out, I think not...

I think the Village vanguard recordings would be up there in Traness, and not just because of the setting and Elvin's presence. There are boots of performances from club dates during the lost years that are interesting if you can find a way to hear them without paying the theives...

sorry dudes & dudettes, never dug this perverse nonjazz jazz museum when new, less so now that I know they were wasting warne Marsh's talents

See the Hot Dog thread for my list, I love Got a Good Thing Going but it's too early ('66) and in a different groove for me. Leo/Idris/Egregious is indeed totally 'bad in a good way'. Can any one tell me 'bour Jimmy Lewis who played bass on many of these sessions.

For those interested, jsut issued last week was Stax Does the Beatles which contains some newly issued and new to CD material from the usual suspects. Booker T. Jones was a major Beatles fan, the other guys in the MGs less so.

I'm no big fan of Oscar, but anything that can honor him and give a poke in the eye to the ne-fascism that is Quebec-whah 'nationalism' is OK with me. Dana (representing my prairie peoples)

intersting and enjoyable but not essential. The 2nd quintet thing is definitely there. If they were the first to be so influenced that would be something in itself, no?